Rochester Institute of Technology RIT Scholar Works
Theses
5-1-1980
Little Italy
Antonio Toscano
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Recommended Citation Toscano, Antonio, "Little Italy" (1980). Thesis. Rochester Institute of Technology. Accessed from
This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. LIT T L E I TAL Y
by
Antonio Toscano
Submitted in partial fulfillment of the
requirements for the degree
MASTER OF FINE ARTS
MFA PHOTOGRAPHY PROGRAM
SCHOOL OF PHOTOGRAPHIC ARTS AND SCIENCE
ROCHESTER INSTITUTE OF TECHNOLOGY
ROCHESTER, NEW YORK
Charles A. Arnold Jr. Charles Arnold Jr., Professor
s. Mondello Salvatore Mondello, Professor
John Pfahl John Pfahl, Assistant Professor vZl/J
"LITTLE ITALY
y
CELEBRATION
a thesis presentation by: Antonio Toscano
Rochester Institute of FA. gallery june 1-7 Technology TABLE OF CONTENTS
Page
Introduction 1
A photographer's philosophy 2
The conception of the thesis 4
The thesis proposal 8
The thesis proposal: an analysis 13
The thesis board 15
The concept of LITTLE ITALY 16
The development of the thesis idea 17
The literature 19
The development of the two-dimensional images 22
Space modulators 26
The poems 27
The gallery 28
The opening night celebration 29
Technical aspects 31
C - Prints 31
Non-silver prints 32 INTRODUCTION
This report will be an analytic diary of the most important points in the thesis project completed for the MFA degree. It will include
thoughts and facts from the time of the thesis conception to the comple
tion of all its segments. It will begin by explaining my philosophy as an artist photographer and will place it in relation to the photo graphic trends of that period. It will analyze my personal concerns at the time the thesis idea was conceived and formulated into a thesis proposal, the selection of the thesis board and the presentation and approval by the M.F.A. Committee.
The report will analyze the literature (verbal and visual) on the subject and all that gave inspiration to the artist; it will provide the necessary comparisons on how other artists have treated the same or similar subjects.
It will enumerate and discuss the most important exchanges with
the thesis board and all other factors which might have affected the development of the thesis, such as the approach I took when photograph ing, the decision to introduce entities other than photographic in the gallery space, etc.
My point of view on how one decides when the work is completed and why will be included, as well as the organization of the gallery space, the hanging and sequencing of the visuals, and the opening celebra tion. All technical aspects will be detailed and discussed.
Finally, conclusions will be drawn as to the value of such a project as an academic endeavor and its value to the arts and the community in general.
-1- A PHOTOGRAPHER'S PHILOSOPHY:
Since the very beginning of my career as an artist photographer,
"ISMS" I found myself reacting rather strongly against the various which scholars, critics, historians and photographers would, for their own profit, characterize and/or categorize photography.
I felt very strongly against the purists with their blind insistance that photographs should be true to the medium; that one should reject as unphotographic those pictures that are made by the aid of (God for bid) darkroom TRICKS. To them photography is both the means and the
end. The same holds true for the pictorialists and their belief in making photographs using rules derived from painting of the late 19th century, never allowing those rules to grow into the new aesthetics of the 20th century. I am against the stronghold theories, all mutually exclusive of one another, that would pin photography to a particular
point on an otherwise broad spectrum of the medium.
I believe that a critical redefinition of photography is long overdue, and through my work I set out to raise public awareness toward the medium with the understanding that photography is another picture- making medium; a medium in which an artist can express himself freely and effectively if he is able to free his mind to the creative process rather than concentrating on the peculiarities of the medium.
I believe that it is part of the artist's duty to educate the viewer to see a picture as a picture, the embodiment of an idea, an
and to appreciate it for those qualities which are entity in itself; present in the work either explicitly or indirectly.
-2- On the evaluation of photographs, I am against those who profess that pictures should come out of set molds (purist, pictorialist) in order to be properly evaluated. I believe that the same principles applied for centuries to evaluate handmade pictures should be applied
to evaluate photographs.
My concern is dual and equally strong. As an artist, I am concerned
with the expression of an idea; with the process of conception and
the embodiment of that idea through a medium; with sharing the product
of that endeavor with an audience. As a photographer, I am concerned
with broadening the horizon of the medium into new aesthetics, rather
than narrowing it into a small band, which I believe would lead to
repetition and stagnation.
These are my philosophical beliefs and these are the coordinates
within which I prepared to take on the thesis project.
-3- THE CONCEPTION OF THE IDEA FOR THE THESIS:
As a recent Italian immigrant to the United States, I was pleasantly surprised with my first contacts with "Little Italy". I was amazed
at the phenomenon of a culture of such strong traditions, such as the
Italian one, co-existing with a culture of very different and sometimes
opposing points of view.
I was intrigued at the anthropological aspects of this phenomenon,
but more so, I was surprised at the discovery of the new aesthetics
that had developed from the co-existence of these two cultures. The
Italian culture by necessity had renounced and accommodated a great
deal, which led to many kinds of abstractions of the various rituals
and beliefs. This in turn created new generations of aesthetics.
These new aesthetics impressed me to such a degree that, very soon,
I felt almost compelled to do work on them. There were the tiny gardens
full of growing life next to Cadillac "Coupe de Ville's"; the front
yards decorated with painted rocks and statuettes; the festivals and
processions of saints whose garments were covered with gold and dollars,
a sign of the good, generous land the devotees were now living in;
festivals that were being carried out in a strange landscape whose
streets were as unfamiliar as the names they were called: Mott Street,
Grand Street, Mulberry Street. There were the shops with their immeasur
able abundance where the goods were neatly organized by color, shape
the and lastly content. There were the rituals, the churches, family,
the dinners, the backyards, the bars, the pizza joint, etc., etc.,
their own and all etc., and all had their own flavor, characteristic, were so interesting to me.
-4- My first photographic experience with the subject was documentary in nature and in spirit. I intended to make a chronological visual
Italy" diary of all the events that would take place in "Little during one year's time.
I soon realized, though, that just the idea of photodocumentation imposed serious limitations on me, most importantly the fact that I felt compelled to be objective about how I represented the subject.
This was a hindrance to my creativity and to the freedom of expression of the subjective feelings I nourished about the subject. I wanted
Italy" to interpret "Little more than represent it in an orthodox way.
From the of self-analysis identification these inner thoughts, , criticism and exchange of views with colleagues and faculty, I began setting up a perspective from which I could comfortably tackle the project that soon started to be identified as my thesis project.
I continued to produce photographs just for the purpose of investi gating and learning about the subject and clarifying my feelings about it. Soon, I began the process of writing the thesis proposal. I do not recall how many drafts I wrote nor how long it took to finalize it. I can only say that I used the process of writing as a means to evaluate and focus my thoughts as they related to the project's: 1. clar ity of intent (objective); 2. realizability as for temporal, technical and environmental limitations; and 3. feasibility and validity to the community and the arts in general.
a great deal of and visu It is my recollection that daydreaming
I was writing. I felt as if the project alizing went on at the time
-5- were being developed and completed right there and then as my thoughts were identified, clarified, and written down.
It was during this stage that the idea of correlating photographs, non-silver prints , music and space modulators into the unity of the opening celebration (performance) came about and was developed into realizable entities.
When the proposal was completed to my satisfaction, it was circu
lated among the thesis committee members and other interested people.
Recommendations came in from all sides. It was my opinion that all recommendations for changes were concerned with logistic and/or technical points which I already resolved in my mind. No one had called for major revision of the core of the proposal. Confident with these facts and with these positive comments, I thus finalized and presented the proposal to the M.F.A. Committee on April 10, 1975.
The proposal discussion lasted 15 minutes during which time clarify ing questions were asked by all the participants.
The proposal was then put to a vote and approved unanimously.
-6- LITTLE ITALY
-7- THESIS PROPOSAL
For Master of Fine Art Degree
College of Graphic Arts and Photography School of Photographic Arts and Sciences Rochester Institute of Technology
"LITTLE ITALY"
This will be an effort to produce a collection of images, romantic* in flavor, which will depict the distinct Italian-American character of certain places or situations which I will happen to be involved in, or will seek.
Chief Advisor Charles A. Arnold, Jr. Professor - College of Graphic Arts and Photography
Associate Advisors Salvatore Mondello Professor - College of General Studies
John Pfahl Assistant Professor - College of Graphic Arts and Photography
*romantic: Freedom of form and spirit, emphasis on feeling and originality, (Webster)
Presented by: Antonio Toscano 4/10/75
-8- "Anthropology has taught us that the world is defined differently in different places. It is not only that people have different customs; it is not only that people have different gods and expect different, post mortem fates. It is, rather, that the worlds of different
shapes." people have different W. Goldschmidt
-9- of One the facts of immigration is that it brings together people
of various backgrounds who are firmly set in their aims and their concep
tions .
Italians, who came to America in large numbers, tended to react
to these circumstances by taking refuge in each other's company in
densely populated areas called Little Italies. There they could cling
more to old easily world habits and traditions as well as create, so
to speak, an America after their own image. They borrowed what they
could and retained what they would.
The functions of a Little Italy were twofold. Being an imitation
of the old society, it was a comfortable place for the immigrant's
continuing attachment to the old world and its familiar ways of doing
things. In addition, it was a place of ongoing transformation and
Americanization .
Italians who lived there had no particular attachment to the neighbor
hood as a physical entity. In fact, residence in it was relative to
their adherence to certain cherished values which they had brought
over with them. This was a heritage of rules and customs which were
simple to understand and simple to follow, and which they have had
for centuries .
The family has been traditionally the core institution of the
Italian culture. Next to it is the Catholic religion, culinary art,
festivals, music and other rituals. The existence of Little Italies
depends on its inhabitants identifying with these values. But, as members of the old generation die, and American ways begin to influence
-10- such matters as family roles and dietary habits, Little Italies are
fast becoming Americanized.
Italian-Americans are rapidly moving toward a middle-class style
of life which is more American-Catholic than American-Italian. In
addition, even though we are witnessing a return to a certain pride
displayed by third generation Italian-Americans toward their ethnic
identity, they do not identify with the colorful, folkloristic aspects
of Little Italy.
It is these aspects, which are slowly disappearing, that I intend
to depict. I consider myself both Italian and American and as such,
am in the best position to pursue this intent. I have an insight into
the culture and at the same time the fresh outlook of an outsider.
ITALY" This thesis will be a celebration of "LITTLE as the Italian-
American heritage which has been a part of the American culture for
over a century.
Through it, I hope to: (1) interpret and translate into visual
elements, personal experiences and feelings I have about my heritage;
(2) share private moments as seen from within and directly related
to family, relatives, neighborhood etc.; (3) discover and share old, yet, new understandings about life and human values. In turn, I hope
that this thesis will become a personal documentation of Little Italy.
MEDIUM = PHOTOGRAPHY
Photographic processes will be used in a discriminating way accord
give pictorial embodiment to ideas. ing to my judgement as a means to my
-11- Straight color photographs will be used both as an end product and as a starting point for more manipulative visual entities. The
two types of images will be made in the spirit of experiences and not
of experiments.
The color photographs will represent moments of visual detachment during periods of emotional contacts. The others will be plastic expres sions of more universal concepts. Color, textures and other visual elements will be used to evoke emotions.
The final presentation of the work is scheduled in the MFA Gallery.
The exhibition will consist of a substantial body of work. Visual and other sensory elements will be introduced in the gallery space,
at least on opening night, so to create an atmosphere for the enjoyment of "LITTLE ITALY".
A final thesis report will be submitted in accordance with MFA
Committee requirements.
-12- THE THESIS PROPOSAL: An analysis
The synopsis of the proposal defines the project as an effort
to produce a collection of pictures that is romantic in flavor. The key word is romantic and as defined by Webster, it means "Freedom of
form and spirit". The above phrase, which was my motto throughout
the thesis project, still affects my work and my life nowadays.
The proposal touches upon some historical and sociological aspects
of immigration and acculturation in the United States. Some typical
Italy" aspects of life in "Little are exposed and analyzed.
The thesis objectives are singled out and written as follows:
1. To interpret and translate into visual elements, personal experiences
and feelings ... (about "Little Italy"). 2. To share private moments
as seen from within ... ("Little Italy"). 3. To discover and share
old, yet new understandings ... (about "Little Italy"). 4. (to make)
... a personal documentation of "Little Italy".
The medium was described uncommittedly as photography. The choice
of processes was left open to my judgement, in concordance with my
strong feelings that the process should grow out of an idea of a picture
and not vice versa.
The only prescribed limitation set for the project was a time
limit. This, to me, was more than a necessity; it was a prerequisite.
period time. I wanted the thesis to be my sole concern during that of
last quarter free from academic To accomplish this, I arranged to have the
energies and personal commitments so that I could fully concentrate my
with other chores. on that objective rather than watering it down
-13- An exhibit date was then set for the end of June, 1975, allowing me a period of three months for the development of the visual work.
The proposal states that visual and other sensory elements would be introduced in the gallery space at least during the opening night celebration. It was my intention to change the usually sterile environ ment of a photographic gallery into something more organic, similar
to a theatrical stage. I wanted music, foods and drinks to subliminally affect the mood of the participants in such a way that they would feel
comfortable, loose, and above all, participatory. For this purpose,
I arranged the gallery into a livable space and atmosphere.
As a result of this, I hoped to de-emphasize the importance of
the photographs as precious art objectives and enhance their viewing
(reading) through the help of the other sensory elements.
-14- THE THESIS BOARD:
I was fortunate to find in the Institute environment three indi
viduals through their who, differences, interests and skills, would
so perfectly complement myself and each other in offering help and
suggestions in the completion of this project.
Professor Charles Arnold Jr. of the School of Graphics Arts and
and member Photography of the M.F.A. Committee was chosen to be my
chief advisor. I have studied with Charles and worked as his assistant
for the academic year 1974-75. During these occasions I was particularly
impressed with his limitless view of art, his romantic view of life,
his sensitivity and taste.
Professor Salvatore Mondello from the College of General Studies
was chosen as my second advisor. I chose Sal for his knowledge and
sensitive views on the historical aspects of the thesis, his genuine
interest in my photography and the incredible help he could offer me
in understanding and appreciating the many aspects of this subject.
Last but not the least, I chose Assistant Professor John Phfal
for his unmatched understanding and experience in color photography,
both as an artist-photographer and as a teacher, for his expandable views on photography as an art form, and for his strong sense of pro
fessionalism.
I could not have done nearly as well nor grown nearly as much without their help and their understanding for my feelings and sensi tivities about the subject and my frame of mind during the development
of the project.
-15- THE CONCEPT OF "LITTLE ITALY":
Italy" As it relates to this thesis "Little is not a specific place but rather a concept in my mind. The most important aspect of this concept is that it hinges on my personal experiences and under standing rather than on more global views.
Italy" "Little does not exist if I am not there to recognize it,
interact with it and it with me. It does not exist if I am not there
to interpret it in a mode that is satisfying to my inner views and
sensitivities .
Italy" "Little does not exist, it is only evoked in my mind.
For this project, I planned to work within the familiar environment
of parents, relatives, and the Brooklyn landscape and neighborhood
in which they lived. I consciously planned not to go out of these
known and comfortable boundaries. I was fearful that venturing out
"new" would provoke photographs centered around the shock effect of the
"weird" "strange" or I was interested in or or worse, the "freaky".
known to me and appreciated me for photographing that which was by
its inner qualities rather than for its flashy exterior.
-16- THE DEVELOPMENT OF THE THESIS AS AN IDEA:
After the Committee's acceptance of the proposal, I proceeded
to organize my thesis into three basic elements.
1. A number (20 to 30) of color pictures.
2. A number (3 to 6) of handmade pictures.
3. Other sensory elements (props)
The development of these three elements within the limits prescribed
the by proposal would assure the success or failure of the thesis.
After some consideration it became evident that all three elements
had to be worked on simultaneously. As it turned out, so total was
involvement with my the subject that I would be out photographing and
think of a piece of music I would like to use at the opening night,
or I would be listening to music and think of an image that I would
like to make. I was very happy and charged by this positive development.
The images and props were being born from each other either as simple
ideas or as visual entities. This was a very welcome development.
In the diversity of processes that I would use I thought of this
promiscuous in-breeding as beneficial. The oneness of inspiration
and emotion would be a thread holding the show together. The possible problem of unity in my potpourri of ideas was often a choice topic for discussion during formal or informal meetings with the thesis board
or other interested persons.
that" The sense of the problem, as I recall it, was that "all of could work against the "pictures". It could all backfire and instead of enhancing the photographs, it would be detrimental and disrupting
-17- to the show. My feeling was that the pictures were not the show nor
the total aim of the thesis. Had that been the case and had I taken
some handmade pictures and props and threw them into the pot, then
I would have had serious reasons to worry. From my very subjective
viewpoint, I could envision no serious conflict of interest between
the the pictures, prints and the props. I, as the artist maker, would
develop all of them with equal interest and enthusiasm with a clear
idea in mind, that of the ultimate goal: their coexistence. Further
it was more, my hope that the show, because of its variety, would become
very musical and polyhedral instead of the usual one foot apart showing
throughout the gallery. I was hoping for various climaxes or accent marks throughout the gallery. It must be pointed out that I had an
excellent understanding of the gallery since I helped build it. I knew inch by inch its layout, its lighting, its advantage points and
its limitations.
Without this prior information, the task would have been much harder and my approach perhaps impossible. At that time of my life,
I believed in putting together all my strengths in the hope that they would outweigh my weaknesses. I strongly believed that doing something different and trying seriously would be better than not doing it at all, even if faced with defeat.
"idea" In conclusion, I developed my in its gestalt, both from within and from without. I worked on putting together the parts of the puzzle and at the same time I kept an eye on the packaging that would eventually contain it.
-18- THE LITERATURE
Under the tutelage of Professor Mondello, who pointed out various sources of necessary reading, I started to research and discuss the
literature. Most of the writings on immigration and its various aspects tended to be very factual and technical, their source often being U.S.
Government agencies.
The sole book that I found to offer a critical, balanced study of the subject is The Italian-Americans by Professors Iorizzo and Mondello.
The book, which deals with historical facts, analyzes all their implica tions both on the immigrant and the American culture. The study of
this book brought innumerable discussions with Professor Mondello,
through which I gathered the necessary background information.
Some important facts to be pointed out here are the following:
1870' o Italians were in the U.S. prior to the Great Migration of the s. Italian merchants, saloon keepers, restaurants were to be found through out the country. o Italian artists, musicians, painters and sculptors made a significant contribution in the area of artistic activity in the United States prior to the Civil War. o Most eminent amongst the artists in the early years of American history was Constantine Brumidi. He arrived in America in 1852 and spent the next 25 years of his life decorating the Capitol. Giuseppe Franzoni came in 1906 to decorate the Capitol with sculptures. Louis Palma
DiCesnola served as director of the Metropolitan Museum of Art.
It was the Great Immigration that patronized the institutions
Italies." we call "Little Most of these immigrants left Italy to free
unemployment. The years between themselves from poverty and chronic
1870-1900 were difficult times both economically and politically in
Italy. An increase in population followed by a decrease in national
income which resulted in produce brought a terrifying low per capita
-19- undernourishment and turmoil. Many superstitions also entered the minds of the immigrants to be, and they saw all those misfortunes as
signs from nature to leave for a better world.
Immigration mushroomed in the first decade of the 1900's. Condi
tions improved in Italy, but the returnees coming back to visit or
to take their families with them would be witnesses to the general
welfare in America. People in the villages would see or hear about
the letters coming to relatives in Italy from immigrants and even though
they might not have believed the words, they believed the dollars and
money orders they saw coming in the mail.
Godfather" Among other books suggested by Professor Mondello were "The
Pilgrim" and "The Fortunate by Mario Puzo. I read both books with
Pilgrim" great interest. I related to "The Fortunate better because
of its more simplistic imagery. The characters are more humane and
personal as compared to the starlike qualities of the characters of
Godfather." Pilgrim," "The In "The Fortunate Maria Puzo seems to have
romanticized personages and treated them more in an impressionistic
Godfather," way. In "The he placed much concern on details, almost
Godfather," in the manner of super realism. I felt that in "The a
detail, if carefully examined, had detail itself.
In the field of visual literature, I studied works by Joseph Stella,
paintings and drawings dealt with an Italian immigrant himself, whose
immigration and related problems. Iorizzo-Mondello wrote of him in
"The Italian-Americans,"
American magazines of Europe's "As early as 1905 his sketches in immigration caught the pathos of those discouraged by years
-20- frustrations" of and "with his pencil and brushes he joined
forces with the progressive reformers in the first decade
of the century to alleviate the suffering of the working
Much inspiration was drawn from the works of Robert Frank, espe
Americans," cially from the book "The and from works by W. Eugene Smith.
I studied the works of those photographers for the iconic quality of
their pictures, their very personal and subjective point of view, and
their strong social commentary.
-21- THE DEVELOPMENT OF THE TWO-DIMENSIONAL IMAGES
The very first important discussion that took place between myself and Prof. Mondello was about the idea of visualizing the Italian-Ameri can concepts and the notion of stereotyping. It was my perception that Professor Mondello felt stereotypes were not historically valid.
I was in agreement with him from an intellectual point of view, but
felt that the use of stereotyped ideas would be essential to completion of this project. I did not want to complicate my images with socio
political statements since that was not my intent. I welcomed stereo
types for a number of reasons: 1. They would be easily understood by the viewer. 2. They would be clear and concise. 3. They would be both symbolic in nature, in a visual sense and pregnant with content
in the literal sense.
The Color Coupler Prints: In developing the picture making part of the thesis, I used both analytic and synthetic approaches.
I used the analytic approach for certain pictures of cityscapes, bocci events, parties, and so forth where my interruption as director was not possible, wanted or called for. I used this approach much
in the manner of photojournalism. I would walk into a situation and
identify the symbols as part of what I wanted to photograph. I would wait passively until the clues would juxtapose themselves in a way
exposure conforming with the picture I had in mind and I would make an
would look for everytime I felt the subject in tune with my idea. I
and the the symbols first, thereafter I would analyze the lighting
the point from colors. I would then work my way around this stage to
-22- which I would observe, try to foresee and at the right moment make
the photograph.
This process entailed shooting a great amount of film but offered
the theatrical spontaneity that is so Italian. I would make contacts
of the negatives and from these I would then make a selection. These
negatives would be proof-printed and discussed with the Board. The
selection process would be repeated again until one picture from a
series of the same concept would be chosen and finalized.
The synthetic approach developed out of the analytic. I often
would recognize parts from different pictures that if put together
would make stronger statements. In this approach, I would deliberately
alter realities for my own benefit. I would arrange symbols at will
in a manner that would be consistent with an original idea I had in
mind. A considerable numbers of set ups felt staged and only a few
prints were chosen for the exhibit. This was due to a feeling of con
trivance that I would sense about those pictures. Subjects seemed
ill at ease and objects were in too obvious a position.
Nevertheless, the use of the two approaches offered an incredible
I would switch from amount of freedom. Every other day it seemed,
that would one to the other, and every experience taught me something
open new doors for expression.
The Non-Silver Pictures: The third means of visualization came
to me through non-silver processes. I had been experimenting during
emulsions. nature that year with gum bichromate and kwik-proof By
a gadget unknown to I never read the instruction book before using
-23- me. as it related to This, the above processes, allowed me to re-invent
them own way. The my first non-silver print I made was from a photograph
of grandfather my doing what he does best, eat. This print was a mixed
media print (see processes).
My grandfather was to me the Italian immigrant par excellence.
He emigrated in 1919 right after the war. He made three trips back
to to Italy conceive his three children and the fourth in 1948 to move
his family to the States. He went through all the hardships that books
and films about immigration talk about: discrimination, underpayment,
etc. He made it humiliation, through with flying colors and is very
proud to be an Italian-American. On holidays and other occasions both
the Italian and the American flag would be displayed at his home, though
the American would be the highest post. He kept most of the Italian
customs and religiously every year, goes through the rituals of canning,
winemaking, gardening, etc. It felt only right to give him the place
of honor in my show.
The print developed in my mind out of the Sunday dinners I exper
ienced when visiting his home. His patriarchal placement at the head
of the table, his happiness at having children and grandchildren with him, and to some degree the grin that would sum it all up the moment
the first dish hit the table or the wine uncorked, deserved the place of honor.
The second non-silver print was an ode to Italian-American culinary art. The idea and the visualization came from a poster of a show by
Man Ray, in which a loaf of French bread is pictured on a diagonal in a royal blue field.
-24- "minestrone" I intended to treat my subject with quite the same simplicity. The chosen vegetables were represented in their whole units proportionate to the amounts necessary to make a minestrone soup.
The vegetables were floating in an aluminum-like circular field represent ing a pot of water.
The third non-silver and the last in the show developed from my
impression of the Sunday dinner table. I am always impressed by the visual beauty, organization, and color coordination that exists at
the Sunday dinner table. As that image grew into completion, I saw
it more and more as the one that would be most appropriate as the invita
tion and poster to the opening night of the exhibit.
This idea was visualized as a white table-cloth with embroidered
red and green flowers. The place setting included a dish, a fork,
a knife, a glass and a flask of wine.
-25- SPACE MODULATORS
The visualization of these space modulators had come about from having been physically or spiritually, at one time or the other, involved in one of these settings.
The first modulator consisted of a movable partition which was
wallpapered on one side and placed in the center of the gallery. The wallpaper chosen was typical of a Little Italy home, a large golden motif repeated in vertical patterns on an egg-shell background. At
the visual center of this wall, the non-silver print of my grandfather was hung. The print was matted and glass framed into a gold and white
Guys" "Two special frame. A chair, placed on one side next to the wall, was balanced by a gallery plant on the other side. The chair was lacquered white with golden motifs; its seat was cushioned and duly covered with clear plastic.
The second space modulator was developed out of pure necessity
8' and the logistics of the opening night ceremony. A large 4'x table
was placed in a corner at the left of the entrance to the gallery.
The table was decorated with characteristic fringes called for at festive
Italy." events in "Little A small barrel of wine was on the left of the table. The spectators were to pour their own right from the spigot.
The rest of the table was filled with foods and drinks.
-26- THE POEMS
Mondello1 It was through Professor s love for literature and poetry that I came to be introduced to the poems of Rose Basile Green. Soon after reading a few of the poems, I felt she had experienced what I
had experienced and she had shared that experience through her poems in the way I was about to do through pictures. I felt there was a strong and clear connection of both visual and intellectual relationships between her poems and the pictures I was developing for the thesis.
In addition, her sonnets were a celebration of the Italian-American
culture which was an important aspect of my thesis. Her visuals were
so close to mine that it was as if someone had written my photographs:
The bocce courts, the pastry shops, the stalls, all interlaced with statuettes and vines.
We live with love of pasta ...
Italians here are like the flow of wine, the Primo Vino that ferments the grape;
like pristine truths the oracles define they tape the source that gives the vision shape.
in mood but romantic Four poems, at times nostalgic, at times haunting
in flavor, found their place interlaced between the statuettes and
vines of my photographs .
-27- THE GALLERY
The Gallery was ready to my satisfaction at 7:30 p.m. on the day of opening night. The pictures were hung and their sequence was pleas
On the ing. first wall to the right, the non-silver print and the poster of the show were hung together with a poem. The gallery opened
into three all walls occupied with cityscapes and neighborhoods, exterior pictures such as those of Bocce Players to the left, and those of shop windows to the right and in front. To the extreme left, the table
with the wine could be seen together with the minestrone print right above it. Moving into the core of the gallery and passing through
the movable partition, the wall-papered set up could be seen as well as the non^silver print of my grandfather. To the right, five portraits hung next to each other in a cameo with the second poem. To the left,
four more portraits and the third poem were hung. The long wall was arranged with ten more pictures moving slowly from left to right from
exterior homescapes to the warmth of the interior and the family.
At the end of the long wall was the most secure and enclosed part of
the gallery. There I placed the more private pictures of the family.
The laying out and sequencing of the photographs was difficult because I had to deal with problems of juxtaposition relative to content, color and visual continuity of the show. After trying various combi
best solution. nations, I settled for what I felt was the
-28- THE OPENING NIGHT CELEBRATION
The music and the smell of foods permeated the gallery to such
a degree that if one closed one's eyes for a moment and transcended
the actual it event, really seemed like a Sunday morning in one of
the many Little Italies.
People trickled in slowly but constantly. There were a variety
of reactions. Some headed for the photographs right away, others looked
around the gallery surprised and perhaps looking for more surprises.
Some took the food around, savoring it and experiencing the show.
Still others took the food in, leaving the rest for later or perhaps
for never. All in all it happened the way I thought it would happen.
People grouped themselves according to their beliefs and/or their freedom
or lack of, to understand what was happening.
My impressions of the event began getting foggier and foggier
as the glasses of wine I drank could no longer be counted on one hand.
It seemed that the party went on for a long time, but it certainly continued for a lot longer for a special group of friends.
After analyzing a series of photographs taken at the event and my impression at that time, I will try to draw some conclusions. In a general way the spectators were forced to take action to what was happening. They either associated or dissassociated with it. None of the intellectual games played at art openings seem to have taken place. The photographs played an important role but stopped being precious little objects. The following photographs of the event will
way. To these I will certainly summarize it in a more documentary add only one more statement.
-29- If the duty of the artist is, as I believe it is, to force the spectator to see a reality which is the reality that the artist sees, then, I believe the celebration was a success.
-30- TECHNICAL ASPECTS
In order to minimize the variables in developing the pictures for the thesis, I made a conscious effort to use tested and proven processes, films and chemicals.
COLOR COUPLER PRINTS
The silver images were produced on negative film: KODAK KODACOLOR
II. This film was exposed with a LEICA M 5 camera fitted with one
Dual- of the following lenses: 28 mm Summicron, 35 mm Summicron, 50 mm
Range, 90 mm Summaron.
The recommended speed for the film, 80 ASA proved to be a little higher than desired with my equipment and for that reason all of the
film was exposed at an ASA of 64. This was an un-scientific conclusion
on my part but returned richer negatives, good contrast and shadow detail without blocking up the highlights.
The exposed film was processed in the RIT Photofinishing Laboratory
in C-41 chemicals. No special arrangements were made with the lab with the exception of having the film returned un-cut. The negatives
were cut and stored in Print-file negatives preservers.
"F" The negatives were printed onto EKTACOLOR 37 RC paper surface
processed in a Model UK drum processor at Kodak's suggested times
and temperature.
with MARSHALL'S When necessary, the final prints were spotted
"0" Watercolors and a Windsor & Newton spotting brush.
The prints were evaluated for exposure and color balance under
a tungsten bulb similar to the bulbs in use in the MFA Gallery.
-31- The prints were color corrected by viewing them through filters of a KODAK COLOR PRINTING FILTER KIT and ultimately by the process of comparison with other prints.
Twenty-eight prints of 9 3/8 x 13 7/8, and 8 of 4 3/8 x 6 3/8 were window matted with an off-white, 2 ply conservation board and were so exhibited.
NON-SILVER PRINTS
The non-silver pictures were created from various originals, includ ing B&W and Color 35 mm negatives, 4x5 regular and Autoscreen KODALITH
FILM. From the originals, color and/or tonal separations were made onto 4x5 Kodalith Film; these were enlarged to size and negatives
made again onto Kodalith Film.
When the use of screens was not desired, a tonal image was obtained
through exposure, and/or development of the film in various dilutions of DEKTOL (D-72) paper developer. These dilutions varied from 1:4 for obtaining a plus contrast negative, to 1:20 for obtaining a minus
contrast negative.
To achieve the desired effect, the method of trial-and-error was employed; visual evaluations and corrections were made.
KWIK-PR00F emulsions The non-silver prints were made by burning through the negatives and by the use of a SUNLAMP.
and (Photographic Kwik-Proof emulsions, Clear, Red, Green, Blue,
Magenta, Yellow and Cyan) were layed on Kwik-Proof Base to achieve the desired effects.
-32- The Kwik-Proof Clear emulsion was used as a carrier for a silver
"Minestrone" powder, specifically for the print. The emulsion was mixed with the powder in advance and spread onto the base in the usual
way.
For all the prints made, the manufacturer's recommendations were
followed for spreading the emulsions, exposures and development.
A mixture of Household ammonia in the ratio of 1:10 was used as
an after the developer bath to clear the highlights from dye that might
not have been properly washed out.
Three final prints 16 x 20 were made and exhibited in the show.
A.Toscan-14 (5/15/80):pjc -33- The Family
The family is a jury and a court, The prosecutor and defender, each A limbing from the judge that is a sort Of tyrant, loving whom he must impeach. Before the patriarch they hush and bow As he a fury wields to bend each one ; And, yet, behind that dark and scowling brow
Are lights that warm them like the autumn sun.
sisters' The brothers check the levity
And guard the mother's holy-ghosted home, The spirit of the table's trinity To help as one the father's kingdom come.
Protecting unity, the generations wait, Respecting loyalty, their shrine and syndicate. Nonna
La Nonna plies away on her crochet As others litigate in voices shrill;
She smiles, for she still has her say
When Poppa's anger ebbs before her will.
"Sta' She says, zit ! Here comes ma friend next door,
Zi' Solomon'he brings the besta thread
Cumma' Bridget' To make the spread my saw,
For Milton and Leonora's marriage bed.
Gumpa' And Fritz he comma to see you here
And talk about old time on Union Hill;
He likes your wine, so better than his beer.
He izza 'u non to Rosie's littla Bill.
Zi' y' Solomon', whatta mean, the birds they fly witha one feather?
together!" Gesu, Giuseppe, Maria! We carry da crossa in America Primo Vino
Italians here are like the flow of wine,
The Primo Vino that ferments the grape; Like pristine truths the oracles define, They tap the source that gives the vision shape. From grapes they press three grades of wine are drawn The first, the elixir of virgin birth;
The second, juiced until the skins are gone; The third, a watery sludge of little worth. In company, they celebrate the best, For each the other values by his cup; At home, the lesser is enough to rest;
While for the crowd the dredge is measured up.
They brought the cup to toast the new land's vine; They broke the maidenhead, made first the wine. Love and Wine
We live with love and pasta, bread and wine, With texture firm, al dento, underdone; For though the lavish hand bids you to dine, The quantity by sapient taste is run. And when you pour, fill not too much the glass That you may not be able then to drink; For, as the sips the brutish gulps surpass,
The half-filled glass leaves time to edge the brink.
Just as suggestion is the soul of verse,
The fraction that excites the metaphor, So love is cupped in winy language, terse, The whispered breath that scents the lover's door.
Italians have the stoic's careful, metered taste; discipline Their no love, no bread will fritter into waste.
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